Kendrick Lamar - "To Pimp A Butterfly" (2015)

I don't have a musical background in hip hop (at all), but over the past couple of years I have been (very) slowly exploring the genre, starting from this album. This was the first truly hip hop album I ever listened to, outside genre crossover acts like Gorillaz and Rage Against The Machine, and I was blown away even at the first listen.

I was captivated by Kendrick's enigmatic and powerful delivery, dynamically switching up his pace and flow, as well as tone and presence. Sometimes hard and purposeful, like on Hood Politics; sometimes bragging and flashy, like on King Kunta; sometimes reflective and thoughtful, for example How Much A Dollar Cost. On u, Kendrick puts on a voice that sounds mid-mental breakdown, and it really adds an intense emotional edge to the song. The instrumentation is equally creative and dynamic. The album is stuffed full with funky and jazzy beats which constantly switch up and change direction, sometimes multiple times in a song. They are consistently entertaining, and never take the backseat to Kendrick's vocals. It is exceptional that these two elements work so well in tandem, it never feels like there's any kind of back and forth considering the complexity of both elements.

Kendrick's lyrics are engrossing, covering multiple topics including: life as a black American, institutionalised racism, growing up in Compton, the exploitation of an artists work in the music industry, and his own personal struggles with religion and his role in society. He switches between these topics effortlessly between songs and even within them. His lyrics are so dense that every time I've listened to this record over the past couple of years I discover something new, it's like a gift that keeps on giving. I don't pretend that I fully understand everything he mentions here, and I don't think I ever will, which draws me in further.

The album goes on such a run from For Free? through to Alright. All of these tracks are fantastic. For Free?, much like u, employs some of Kendrick's more deranged vocals. That combined with the frantic jazzy instrumentation gives the track a uniquely entertaining vibe. King Kunta takes shots at other rappers, and Institutionalized references growing up in Compton and has a great guest verse from Snoop Dog. These Walls and Alright have more fun to them, however still have intelligent lyrics and incredibly catchy choruses. The Story told on How Much A Dollar Cost is personal and spiritual, detailing an event where Kendrick came across a beggar who he initially dismissed as a scam artist, who then is revealed to be Jesus and that this was a test of his faith. This track is set to a moody piano line and some restrained saxophones, adding to this spooky and otherworldly atmosphere. The Blacker The Berry goes for the jugular, with Lamar aggressively rapping about the endless cycle of institutionalised racism and gang violence, and how even he can't get away from it despite being one of the biggest rappers in the world.

The closer, Mortal Man is slow track which winds down the album and its many ideas well, and after the track finishes there is a section where Kendrick has edited an old Tupac interview to make it seem as if they are having a conversation. This could come of a little awkward, however it is edited so well that it is very endearing, especially the end where Kendrick Shouts out "PAC!" as if hes disappeared, obliviously in reference to Tupac's untimely death.

This record is fantastic. It is bursting it's seems with creativity and character, as well as being poignant and thought provoking. It's focus on instrumentation also provides a nice starting point for people getting into the genre. Of the few hip hop releases I have listened to since, none have come close to beating this one, even some of Kendrick's other work. If you ave never been into hip hop, this record may change that.

Top Tracks: For Free? King Kunta, Instiutionalized, These Walls, u, Alright, Hood Politics, How Much A Dollar Cost, The Blacker The Berry, Mortal Man

9/10

Tame Impala - "Currents" (2015)

Currents is a quite the shift from Tame Impalas previous record, Lonerism. It ditches many of the guitars for more of a psychedelic synth-pop style. This new approach makes the record feel much more sonically dense than Lonerism, which I'm not really latching on to as much (I really liked the spacious atmosphere of Lonerism). I find it slightly impenetrable, as if I can't really get absorbed by the record.

The album opens with its best cut, Let It Happen, a track driven by its thumping, dance-able bass riff. The track goes through multiple phases, one of which where the track chops up like old scratched CDs do, only to do it again and then more frequently until the track bursts out of it with the return of the bass line. The Less I Know The Better has a similar bass line, with Kevin Parker singing some pretty catchy falsetto vocals. I also get a bit of a disco vibe from this track with the strings which float around in the mix in the back half of the song.

Disciples sounds far more similar to Lonerism than anything off this record, being a more guitar driven track. It's such a shame that it is so short, as it has the spaciousness the rest of the album lacks. I feel like Nangs is the best exploration of the synth style, which is also far shorter than it could be. The track is rich in atmosphere, having this wobbling, warbling noises. I also feel it benefits from having no vocals. The vocals across the album are in this heavily processed falsetto style, which works on some tracks, including the aforementioned Let It Happen and The Less I Know The Better, as well as Reality In Motion. However they feel far less dynamic than on Lonerism, just sitting on top of the mix where they used to dart around all over the place. 

A friend also brought to my attention that the lyrics feel just a little whiny. While Tame Impala has always had somewhat sad undertones, there are points on this record which verge into self-pity. The worst offender for this is Past Life, a track which has these really cringy pitch-shifted spoken word vocals about a previous partner. The track also has this incredibly bad sounding distortion effect placed on the entire mix at points which really doesn't mix well with the rest of the tune.

Current's is an incredibly made and produced album, but almost too so. Outside of some really great tracks (I mean Let It Happen is phenomenal), it's just too dense for me to really find myself being absorbed by the music. It is still enjoyable to have on in the background and has creative moments in most of the tracks which I appreciate. I can imagine someone else with slightly different tastes digging it a lot more than I did.

Top Tracks: Let It Happen, Nangs, The Moment, The Less I Know The Better, Disciples, Reality In Motion

6/10

Thom Yorke - "ANIMA" (2019)

Despite being a big Radiohead fan, I've never gotten around to checking out any of Thom Yorke's solo material until now. This record dropped a couple of weeks ago alongside an arty Netflix short film featuring 3 of the songs and some more of Thom's meme worthy dancing. ANIMA explores Yorke's more electronic leaning tendencies that are apparent in Radiohead's more experimental albums. ANIMA, however, feels a whole lot more consistent than the likes of Amnesiac or The King Of Limbs. Perhaps it is because Thom is only focused on electronic sounds and textures, making the album feel less like a balancing act, and more of a full exploration of the genre.

Another distinction I feel between this and a lot of Radiohead's electronic work is the emphasis on more ambience and texture, as opposed to the hypnotic rhythms they tend to build their tracks around. Loops and rhythm are still an integral part to the album, but it feels as if they're not the focus this time. For example, the opener, Traffic, is built up from layers of looping synthetic beats, but swells of synthesisers rise and fall and different elements are introduced throughout the track. Thom's vocals are soaked in reverb, creating a strange yet human atmosphere as they contrast to the music they're paired with. Twist starts off with a looped sample of Thom just saying "twist" which slowly fades out of the mix as ethereal vocals glide over the top. A sample of kids cheering is also introduced which gives the track a slight sense of fun. However the track feels like it should've ended after its first phase, as it really feels dragged out over its 7 minute runtime. Not The News has tense beebs and boops driving the track forward with some momentum as Thom's voice sounds paranoid and confused, which echo effects applied at just the right moment to add to the tension. Strings come in slowly as the song moves forward, turning it from something tense and synthetic, to something lush and rich. This paranoia carries on through the seamless transition into The Axe, where Yorke wails 'I Thought We Had A Deal' over these chiming guitar notes buried in effects lower in the mix.

Dawn Chorus is built from some incredibly sad, slightly dissonant chords and not much else. Yorke's deadpan, emotionless depiction of modern day to day actions with lines such as "You've quit your job again" and "I don't like leaving, doors shut". This completely devastated track evokes similar feelings to the likes of Motion Picture Soundtrack and True Love Waits, as if there is nothing left for him in this life. I Am a Very Rude Person fits in rather well afterwards, with it's spacious beats and cool bass guitar refreshing the album after the defeated atmosphere of the last track. Impossible Knots is also built around a chunky looped bass riff and some sped up drum patterns, courtesy of Radiohead's drummer Philip Selway. Honestly at this point it doesn't sound to far of the basis of a typical Foals track. Synths layer on top of this, along with more of Thom's ethereal vocals.

Last I Heard (... He Was Circling The Drain) is my least favourite of the bunch, reminding me of Radiohead's more underwhelming electronic tracks, such The Gloaming. The siri-esque computerised vocals on the closer, Runwayaway, also don't really appeal to me; and the track as a whole doesn't feel like it progresses to anywhere particularly interesting.

This album has certainly become one of my favourite releases this year, with these engaging ambient tracks which have so much detail and texture to them. The beats and grooves drive the tracks without them feeling as if the rhythm is the sole focus of them. It's a really great album and a good way to follow on from the likes of Kid A and Amnesiac through to full-on electronica.

Top Tracks: Traffic, Dawn Chorus, I Am A Very Rude Person, Not The News, The Axe, Impossible Knots

8/10

Catfish and the Bottlemen - "The Balance" (2019)

This record came out 2 months ago now and I keep putting off talking about it because it is simply so bland and predictable. As with so many bands over the past 15 years, Catfish put out an incredibly exciting and enjoyable debut in 2014's The Balcony, and then followed it up with a mostly mediocre The Ride in 2016, an album that had some stellar singles but most of the deep cuts sounded like bland Oasis demos which never left the studio for a reason. While there was always hope that the band could turn it around for their third release, I wasn't surprised it turned out like it did.

And there was hope for a while, the first two singles (also the first two tracks on the record) were legitimately enjoyable indie pop rock tunes. While nothing revolutionary, Longshot aims for an anthemic feel-good vibe and actually gets there, and also ditches the oasis cover band style of the last album. Fluctuate is easily the best the record has to offer, retaining much of the energy and angst that made the first album work so well. The way the guitar and bass play off each other during the verses is some legitimately creative songwriting. But then we get to third track and single, 2all. This is when I knew how this album was going to turn out. The instrumentation is bland and uninspired, and the lyrical content is just complete anthemic nothingness. Another (admittedly petty) gripe I have with this track is that title. It seems as if the band are more committed to their aesthetic of single word titles than actually making one that doesn't look incredibly dumb on its own.

The whole album feels like this to be honest, engineered to maintain the bands aesthetic and appeal to the fans. The same cover art style, the same "The ..." title, the same one word song titles, the same awkward cut-off at the end of the last song just because it happened by accident when they recorded Tyrants for the first album. It's even more awkward here than on The Ride, because the last song, Overlap, doesn't even sound like a big finale song. It just sounds like every over song on the album, just with the end missing...

All the songs follow the same structure, opening with the first verse at a certain tempo, with a big buildup into the chorus which is either faster or slower than the verse. Then repeat for the second verse and chorus, and then finally jump into a guitar solo or a bridge and then the big anthemic final chorus. The lyrical topics are also generally the same throughout the album (as they were the last time), generic relationship struggles that are just detailed enough to remain relatable, but not intense or introspective enough to feel like there's really any stakes.

I know I've really grilled this album, but it is well performed and well made, and does an energy to it that you can bop your head to in the backround. Individual guitar lines and some of Van McCann's vocals do grab me, but they're put into songs that overall sound all the same as each other, and all the same as what the band has done before. If you're a fan of what the band has done before and is not looking for any changes, then you'll probably really enjoy this record. However, for me, I would just rather listen to their first record, or something from the myriad of bands that have sounded like this over the past 15 years.

Top Tracks: Longshot, Fluctuate

4/10

Portishead - "Dummy" (1994)

Portishead's debut album, Dummy, is the record which broke trip hop into the mainstream, winning the Mercury Prize in 1995. I've been really enjoying having it on when I've been working or just chilling out to in the evenings. The band incorporate elements of film noire aesthetics to the standard trip hop fusion of break beats, electronica and jazz to create a smokey and introspective atmosphere unique from many other trip hop acts of the time.

The incredibly low bass and roughly produced drum beats give off a slightly industrial vibe across the record, like some heavy machinery working quietly in the night. Ominous and spooky synths layer on top smothering the mix like a thick fog, with Beth Gibbons' vocals gliding on top with plenty of  breathing room. Her lyrics detail isolation, longing, desire and self reflection.

Despite maintaining a consistent aesthetic across the 11 tracks, each one has unique flourishes which maintains my engagement. Mysterons opens the album with some spooky synths which rise and fall, creating a kind of alien vibe. Sour Times has a low-fi beat with a smooth guitar and bass, while Gibbons' sings the hook "Nobody loves me, it's true, not like you". The film noire feel really comes across in this track, I just get the sense of some dark seedy club. Numb and Wandering Star have the hip hop style scratches which give the tracks a sense of 'bounce'. The beat doesn't come in right away in It's A Fire, leaving Gibbons' vocals alone with organ sounding synths. The chord progression they follow gives a quietly triumphant sound to the song. Roads benefits from an even slower pace than usual trip hop and a simpler mix, allowing Gibbons' incredibly sad vocals to shine through over the vibrato affected chords and guitar. A sax sample breaks out half way through Pedestal, and Strangers has a lot of funky guitar and horns in the mix. The closer, Glory Box is louder than the other tracks with this screeching guitar over the top of the groovy sample of Isaac Hayes' Ike's Rap II. The track even ends with a big drop and breakdown before fading out.

This album is incredibly low key, but that's the point. It has a great late-night atmosphere to wind down and chill out to. It easily works in the background, however has a lot of subtleties which provide an engaging experience when you pay attention to it. The film noire vibe really comes across in the music, giving it a dark and moody edge that some might not like, but I think really adds to the engagement I have with the record.

Top Tracks: Mysterions, Sour Times, Strangers, It Could Be Sweet, It's A Fire, Numb, Roads, Pedestal, Glory Box

9/10

Joy Division - "Unknown Pleasures" (1979)

I intended this blog to be more about new music I am discovering, but here's another anniversary so I've been tempted to talk about this amazing record. Unknown Pleasures turned 40 over the weekend and is widely considered to be one of the most influential records of the post-punk scene in the late 70s / early 80s.

The band and producer, Martin Hannett, crafted a truly unique sound on this record. It is characterised by this very intense but spacious atmosphere, giving you this feeling of being smothered and suffocated. The incredibly sharp production on the drums and percussion makes them stab right through the oppressive atmosphere, creating a sense of uncomfort and urgency which drives the album along. Ian Curtis' dark and intense lyrics layer on top of this, detailing disconnect, loss of control, and the creeping feeling of impending doom. I find this album to be Curtis' vocal peak; there's a sense of angst and passion to his approach here which shifted to complete depression and desolation by the time of Closer.

Disorder opens the record with a driving bass and chiming guitar, with Curtis' vocals fast and very rhythmic vocals meshing in. This turns into more of a chant in the back end of the track as these spacey, sci-fi noises are introduced into the mix. Following this is the much Slower and more tense The Day of the Lords. The production on the guitar here is incredible. It sounds like its almost about to explode into complete noise but then retains it's restraint and winds down, over and over throughout the whole song. This creates a knife-edge tension that isn't released at all in the song, leaving it feeling strange and unresolved. Insight is backed by these very alien beeps and bops, reminding me of another isolating, atmospheric masterpiece turning 40 this year, Ridley Scott's Alien. The drums on She's Lost Control pierce right through the mix, keeping the song tense and uncomfortable. More beeps enter this song on the drum hits and gradually increase in volume until the end where they completely overpower the song and remind me of the beeps of a cardiogram you might find in a hospital. This give the song a very sinister feeling, as if the titular character has lost control to the point that they're in mortal danger. Shadowplay has an incredibly simplistic and catchy guitar solo. The driving bass riff propels the song forward. It's dark and sinister, detailing dark city streets and assassins. The album's tension comes to head in Interzone, where the guitar is finally allowed to go as wild as possible, sounding brutal after so much absence. With all the tension gone, the closer I Remember Nothing sounds like a glimpse of their much more gothic sound on Closer.

It honestly astounds me that nothing really sounded like this before, because you can trace elements of so many band's sounds back to this album. It is also really interesting to me that this sound is almost entirely down to Hannett and Curtis, with the rest of the band (particularly Peter Hook) not really understanding its appeal and initially not even really liking it. Honestly this album is fantastic and also really benefits from decent speakers/headphones. My laptop speaker really doesn't do justice to the atmosphere and space the album creates and it sounds so much better when I'm playing it through my speaker.

Top Tracks: Disorder, Day of  the Lords, Candidate, Insight, New Dawn Fades, She's Lost Control, Shadowplay, Wilderness, Interzone, I Remember Nothing

10/10

Biffy Clyro - "Balance, Not Symmetry" (2019)

While touring their 7th album, Ellipsis, Biffy Clyro mentioned they were working on a soundtrack album. And then we heard nothing until the day before it dropped with the release of the title track and the announcement it was coming the following day. This 17 track album is the soundtrack to a film of the same name, apparently an imagining of Romeo and Juliet but from Juliet's perspective. The band have definitely used this slight change in format to explore some of their weirder tendencies which have been largely smoothed off in recent years as the band have become more popular.

The album opens with the title track, where Simon Neil screams the opening line then settles into an off-kilter rhythm against this angular drum pattern. It has a typical anthemic Biffy chorus then dives right back into the weirdness for the second verse. The second and third track are softer emotional tracks that you would find in any film score and don't do much for me, but following that is Sunrise. This track opens with about 30 seconds of intense thrashing on not just the bands typical instruments but also there's some piano in there as well. All this noise forms into this monstrous Rage Against The Machine style riff. The stomping verses of this track build into another anthemic chorus, with the captivating lyrics of "I didn't wanna break but I broke" and "I didn't try and speak but I Spoke". After this comes Pink, the first of three short, wholly instrumental mood pieces. The first five tracks are a microcosm of the variety on this album, with the band exploring entirely new sounds and ideas.

Gates Of Heaven has a chiming piano as the lead instrument and a guitar as only an accompanying instrument. The track shows a level of restraint from the band, it doesn't go overboard. Fever Dream is a reverb heavy electronic track which has vast soups of atmosphere. Skittering synths lace Neil's voice, singing "Where the fuck is God?". The reverb and echo effects slowly builds at the back end of the track, turning the fever dream into what sounds like some kind of nightmare. As a pinnacle of the throw everything at the wall and see what sticks weirdness, Tunnels And Trees samples a floor board creaking as a part of the percussion. The band really are just doing whatever they feel like on this record.

This vast variety of sounds and the fact that it is a soundtrack album (which doesn't lend itself to a traditional studio album structure), does mean it doesn't flow as well as other Biffy records. There are a handful of tracks I don't care for and while the instrumental tracks are likely necessary as an accompaniment to the movie, they do kind of pad out the album a bit. Overall, there are some absolute bangers on here, but its lengthy 17 track long runtime makes them easy to miss.

Top Tracks: Balance, Not Symmetry, Sunrise, Gates Of Heaven, Fever Dream, Plead, Touch, Jasabiab, Following Master

7/10